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Full text of "Some German woodcuts of the fifteenth century."

SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY 




SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY 







FROM THE LIBRARY OF 

JOHN CHARRINGTON 
THE GRANGE, SHENLEY 



SOME GERMAN WOODCUTS OF THE FIFTEENTH 
CENTURY 



FOREWORD. 

Of the 35 reproductions of German woodcuts here given, 29 are all 
that were done of a series chosen by William Morris to appear in 
the Catalogue of his library, which was to have been annotated by 
him and printed at the Kelmscott Press.The other 6 were made for 
his article in the 4th number of Bibliographica on the Early Wood" 
cut Books of Ulm & Augsburg, and thanks are due to Messrs. Ke^ 
gan Paul,Trench,Triibner & Co. for the loan of the blocks, as well 
as for permission to quote the portions of the article which serve as 
an introduction to this book.These quotations will show the nature 
of the remarks that Mr. Morris intended to write for the Catalogue, 
of which theywouldhavebeenthemostinterestingfeature.Aminor 
feature was to have been a statementof the number of different cuts, 
and the number of cuts including repetitions, in the principal illus/- 
trated books. For this purely scientific side of the work I was made 
responsible, and as the earlyprinters usually repeated their cuts, and 
no one has hitherto troubled to countthem in this way, it has seemed 
worth while to preserve these fewstatisticsnowthattheoriginalde^ 
sign of the Cataloguehas fallen through. They are accordingly print' 
ed as an appendix inalistof themoreimportantwoodcutbooksthat 
the library contained. For some other particulars in this section lam 
indebted to my friend Mr. Robert Proctor, who has kindly looked 
over the proof sheets, and pointed out errors and omissions. 
I have been tempted to add a list of the manuscripts, which, though 
comparatively few in number (112), were themostnotablepart of the 
library ; but without a full description of each volume such alist would 
be meaningless, and anything more than alist would be out of place. 

S.C.COCKERELL. 



in 



»» 




PREFACE,BEINGEXTRACTSFROM AN ARTICLE 
BYWILLIAM MORRIS ON THE ARTISTIC QU ALL 
TIES OF THE WOODCUT BOOKS OF ULM AND 
AUGSBURG IN THE FIFTEENTH CENTURY. 

H E invention of printing books, & the use of wood/ 
blocks for book ornament in place of hand/painting, 
though it belongs to the period of the degradation of 
mediaeval art, gave an opportunity to the Germans 
to regain the place which they had lost in the art of 
book decoration during the thirteenth & fourteenth 
centuries. This opportunity they took with vigour and success, and 
by means of it put forth works which showed the best and most es/ 
sential qualities of their race. Unhappily, even at the time of their 
first woodcut book, the beginning of the end was on them; about 
thirty years afterwards they received the Renaissance with singular 
eagerness and rapidity, and became, from the artistic point of view, 
a nation of rhetorical pedants. An exception must be made, how/ 
ever, as to Albert Durer; for, though his method was infected by the 
Renaissance, his matchless imagination and intellect made him 
thoroughly Gothic in spirit. 

Amongst the printing localities of Germany the two neighbouring 
cities of Ulm and Augsburg developed a school of woodcut book 
ornament second to none as to character, and, I think, more numer/ 
ously represented than any other. I am obliged to link the two cities, 
because the early school at least is common to both; but the orna/ 
mented works produced by Ulm are but few compared with the 
prolific birth of Augsburg. It is a matter of course that the names of 
the artists who designed these wood/blocks should not have been 
recorded, any more than those of the numberless illuminators of 
the lovely written books of the thirteenth and fourteenth centuries; 
the names under which the Ulm and Augsburg picture/books are 
known are all those of their printers. Of these by far the most dis/ 
tinguished are the kinsmen (their degree of kinship is not known), 
Gunther Zainer of Augsburg and John Zainer of Ulm. Nearly 
parallel with these in date are LudwigHohenwang & JohnBamler 
of Augsburg, together with Pflanzmann of Augsburg, the printer 
of the first illustrated German Bible. Anthony Sorg, a little later 
than these, was a printer somewhat inferior, rather a reprinter in fact, 
but by dint of reusing the old blocks, or getting them recut and in 
some cases redesigned, not always to their disadvantage, produced 
some very beautiful books. 

The earliest of these picture/books with a date is Gunther Zainer's 
a2 v 



Golden Legend, the first part of which was printed in 1471 ; l>ut, as 

See the most important from the artistic point of view, I should name : 

pages 13, first, Gunther Zainer's Speculum Humanae Salvationis (undated 

!,3,9&iobut probably of 1471) ; second, John Zainer's Boccaccio De Claris 

Mulieribus (dated in a cut, as well as in the colophon, 1473) ; third, 

the JE sop, printed by both the Zainers, but I do not know by which 

first, as it is undated; fourth, Gunther Zainer's Spiegel des mens.* 

chlichenLebens(undatedbutabouti475),withwhichmustbetaken 

his German Belial, the cuts of which are undoubtedly designed by 

the same artist, and cut by the same hand, that cut the best in the 

Spiegel above mentioned. 

It should here be said that, apart from their pictures, the Ulm and 
Augsburg books are noteworthy for their border and letter decora* 
tion. The Ulm printer, John Zainer, in especial shone in the pro* 
duction of borders .^^ A very handsome border (or half*border 
rather) with a zany in the corner, is used frequently in his books, & 
page 2 in Alvarus de planctu Ecclesiae, 1474, is associated with an inter* 
esting historiated initial O. A curious alphabet of initials made up 
of leafage, good, but not very showy, is used in the De Claris Mu/ 
lieribus and other books. An alphabet of large initials, the most 
page 2 complete example of which is to be found in Leonard Hoi's Ptole* 
my, is often used and is clearly founded on the pen*letters, drawn 
mostly in red&blue, in which the Dutch 'rubrishers'excelled.,^/^ 
In almost all but the earliest of Gunther Zainer's books a hand* 
some setof initials is used, a good deal like the Ulm initials, but with 
the foliations blunter, and with less of geometrical forms; the pen 
origin of these is also very marked. 

Now it may surprise some of our readers, though I should hope not 
the greatest part of them, to hear that I claim the title of works of 
art, both for these picture*ornamented books as books, and also for 
the pictures themselves.Their two main merits are first their deco* 
rative and next their story* telling quality; and it seems to me that 
these two qualities include what is necessary and essential in book* 
pictures. To be sure the principal aim of these unknown German 
artists was to give the essence of the story at any cost, and it may be 
thought that the decorative quality of their designs was accidental, 
or done unconsciously at any rate. I do not altogether dispute that 
view; but then the accident is that of the skilful workman whose 
skill is largely the result of tradition ; it has thereby become a habit 
of the hand to him to work in a decorative manner. 
To turn back to the books numbered above as the most important 
page 1 of the school, I should call John Zainer's De Claris Mulieribus, and 
vi 



the i9E sop, and GuntherZainer's Spiegel desmenschlfchen Lebens See pages 
the most characteristic. Of these my own choice would be the De 3, q& 10 
Claris Mulieribus, partly perhaps because it is a very old friend of 
mine, and perhaps the first book that gave me a clear insight into 
the essential qualities of the mediaeval design of that period. The 
subject-matter of the book also makes it one of the most interesting, 
giving an opportunity for setting forth the mediaeval reverence for 
the classical period, without any of the loss of romance on the one 
hand, and epical sincerity and directness on the other, which the 
flood/tide of renaissance rhetoric presently inflicted on the world. 
No storytelling could be simpler and more straightforward, and 
less dependent on secondary help than that of these curious, and, as 
people phrase it, rude cuts. And in spite (if you please it) of their 
rudeness, they are by no means lacking in definite beauty: the com/ 
position is good everywhere, the drapery well designed, thelines rich, 
which shows of course that the cutting is good. Though there is no 
ornament save the beautiful initial S andthe curious foliated initials 
above mentioned, the page is beautifully proportioned and stately, 
when, as in the copy before me, it has escaped the fury of the boolc/ 
binder. 

In the JE sop the drawing of the designs is in a way superior to that page 3 
of the last book : the line leaves nothingto be desired ; it is thorough' 
ly decorative, rather heavy, but so firm and strong, and so obviously 
in submission to the draughtsman's hand, that it is capable of even 
great delicacy as well as richness.The figures both of man and beast 
are full of expression; the heads clean drawn and expressive also, 
and in many cases refined &delicate.The cuts, with few exceptions, 
are not bounded by a border, but amidst the great richness of line no 
lack of one is felt, and the designs fully sustain their decorative posi/ 
tion as a part of the noble type of the Ulm and Augsburg printers; 
this iEsop is, to my mind, incomparably the best and most express 
sive of the many illustrated editions of the Fables printed in the fif- 
teenth century.The designs of the other German and Flemish ones 
were all copied from it. 

Gunther Zainer's Spiegel des menschlichen Lebens is again one of pages 9 
the most amusingof woodcut books. One may say that the book it/ and to 
self, one of the most popular of the Middle Ages, runs through all 
the conditions & occupations of men as then existing, from thePope 
and Kaiser down to the field labourer, and with full indulgence in 
the mediaeval love of formal antithesis, contrasts the good and the 
evil side of them. The profuse illustrations to all this abound in ex/ 
cellent pieces of naive characterisation; the designs are very well put 

vii 



together, and, for the most part, the figures well drawn, and draperies 

good and crisp, andthe general effect very satisfactory as decoration. 

The designer of this book, however, has not been always so lucky in 

his cutter as those of the last two books,& some of the pictures have 

been considerably injured inthecutting.Ontheotherhandthelove/ 

ly genealo gical tree crowns this book with abundant honour, and the 

See best of the cuts are so good that it is hardly possible to rank it after 

pages 13, the first two. Gunther Zainer's Speculum Humanae Salvationis, 

it & 12 a nd his Golden Legend have cuts decidedly ruder than these three 

books; they are simpler also and less decorative as ornaments to the 

page, nevertheless they have abundant interest, and most often their 

essential qualities of design shine through the rudeness,which by no 

means excludes even grace of silhouette : one and all they are triors 

oughly expressive of the story they tell. 

Ofthe other contemporary,or nearly contemporary printers, Bamler 
page 8 comes first in interest.^ /£ His Rosencranz^-Bruderschaft has but 
two cuts,but they are both of them, theoneasafinedecorativework, 
the other as a deeply felt illustration of devotional sentiment, ofthe 
highest merit. 

To Conrad Dinckmut of Ulm, belongingto a somewhat later period 
than these last-named printers, belongs the glory of opposing by his 
fine works the coming degradation of book ornament in Germany, 
page 4 The Seelen^wurzgarten, ornamented with seventeen fulkpage cuts, 
is injured by the too free repetition of them; they are, however, very 
good; the best perhaps being the Nativity, which, for simplicity & 
beauty,is worthy of the earlier period of the Middle Ages. Das Buch 
page 5 der Weisheit (Bidpay's Fables) has larger cuts which certainly show 
no lack of courage; they are perhaps scarcely so decorative as the av 
erage ofthe cuts ofthe school, and are somewhat coarsely cut; but 
their frank epical character makes them worthy of all attention. But 
pages 6 perhaps his most remarkable work is his Terence's Eunuchus (in 
and 7 German),ornamentedwithtwenty'eightcutsillustratingthescenes. 
These all have backgrounds showing (mostly) the streets of a medi^ 
aeval town, which clearly imply theatrical scenery; the figures ofthe 
actors are delicately drawn, and the character ofthe persons & their 
action is well given and carefully sustained throughout.The text of 
this book is printed in a large handsome black-letter, imported, as 
my friend Mr. Proctor informs me, from Italy. The book is altogc 
ther of singular beauty and interest. 

All these books it must be remembered, though they necessarily 
(being printed books) belong to the later Middle Ages, and though 
some of them are rather decidedly late in that epoch, are thoroughly 
viii 






MHi 



'Gothic'as to their ornament; there is no taintof the Renaissancein 
them. In this respect the art of book^ornamentwas lucky. Theneo' 
classical rhetoric which invaded literature before the end of the four^ 
teenth century (for even Chaucer did not quite escape it) was harm-' 
less againstthis branch of art at least formore than another hundred 
years ; so that Italian book^pictures even are Gothic in spirit, for the 
most part, right up to the beginning of the sixteenth century, long 
after the New birth had destroyed the building arts for Italy : while 
Germany, whose Gothic architecture was necessarily firmer rooted 
in the soil, did notsomuch as feel the first shiverof the comingflood 
till suddenly, and without warning, it was upon her, and the Art of 
the Middle Ages fell dead in a space of about five years, and was 
succeeded by a singularly stupid and brutal phase of that rhetorical 
and academical art, which, in all matters of ornament, has held Eu/- 
rope captive ever since. 

Nov. 5, 1894. 



IX 






ALISTOFTHEWOODCUTSOF THE FIFTEENTH 

CENTURY REPRODUCED IN THIS BOOK. 

l. Half border from Albertus Magnus, De mysterio Missas. Ulm, 

J. Zainer, 1473* 

2 & 3. Two cuts, initial, and type from Boccaccio's Declaris mulienV 

bus. Ulm, J. Zainer, 1473. 

4' Initial O from Alvarus Pelagius, De planctu Ecclesiae. Ulm, J, 

Zainer, 1474. 

5' Initial H and type fromPtolemaeus,Cosmographia.Ulm, L. Hoi, 

1482. 

6. Cut and type fromiEsopi Fabulae et Vita. Augsburg, A. Sorg, 

c. 1490. 

7- Cut from Seelen^wurzgarten. Ulm, C. Dinckmut, 1483. 

8. Cut from Das Buch der Weisheit. Ulm, C. Dinckmut, 1485. 

9 & 10. Two cuts from Terence's Eunuchus in German. Ulm, C. 

Dinckmut, i486. 

n.Cut from Sprenger's Die erneuerte Rosenkranz^Bruderschaft. 

Ulm, Bamler,c. 1476. 

12, 13 & 14. Three cuts and type from Rodericus Zamorensis, Der 

Spiegel des menschlichen Lebens. Augsburg, G. Zainer, c. 1475. 

15 & 16. Two cuts and type from a Legenda aurea. Augsburg, G. 

Zainer, c. 1475. 

17* Cut and type from Boccaccio's Cento Novelle. Augsburg, A. 

Sorg, 1490. 

t8. Cut & type from Der Spiegel der menschlichen Behaltnis. Augs^ 

burg, Monastery of Saints Ulric and Afra, c. 1471. 

*9- Cut and type from another edition of the samebook. Augsburg, 

A, Sorg, 1476* 

20 & 21. Two cuts from a book of impressions of the cuts in Ber^ 

nard Richel's edition of Der Spiegel der menschlichen Behaltnis. 

Basel, 1476. 

22. Cutand type from Cassianus, De institutis coenobiorum. Basel, 

J. de Amerbach, 1485. 

2 3' Cut and type from Herbarius. Spires, J. and C. Hist, c. 1485. 

24, 25, & 26, Three cuts & type from Der Spiegel der menschlichen 

Behaltnis. Spires, P. Drach, c. 1480. 

27. Cut & type from Johannes Hildeshemensis, Die heiligen drei 
Konige. Strasburg, H. Knoblochtzer, c. 1484. 

28. Cut and type from Justinian's Codex. Nuremberg, Frisner & 
Sensenschmid, 1475. 

29 & 30. Two cuts from a Passional. Printed at Nuremberg by A. 
Koburger in 1488. 
x 






3»« Cut and type fromThwrocz, Chronica Hungarian. Brunn,i488. 
32 & 33. Two cuts from Die Bibel. Lubeck, S. Arndes, 1494. 

34. Cut and type from the Saxon Chronicle. Printed at Mainz by 
P. Schoeffer in 1492. 

35. Initial and type from Breydenbach's Opus peregrinationis ad 
sepulchrum Christi. Mainz, £. Reuwich, i486. 









XI 



RaM*e9HRHB*fiNW«*4pi 





gQPHOHlSB^ 



Rgia greca rtiuticr ab antiquis argiuoru 
regibus genciofam fcucena origins ao:a(K 
regis Filia Fait/ 62 fpe&abili pulcbritubine 
fua^ri dGfeca tciTipomneio Urutn fpectacu 
1MASHISSV- LELIVS ; 




u Half ^border from Albertus Magnus, De mysterio missal Ulm, 
John Zainer, 1473. Hain,44Q. 

2 and 3. Two woodcuts, initial and type, from Boccaccio's De claris 
mulieribus, printed at Ulm by John Zainer in 1473. This book con^ 
tains 80 cuts and a very remarkable initial S. 



^-=S-.i=~^ 




Satidaca 63 18 i 

Orbadam &, J & 

Pritms magna 62. \? 

MEROES INSVLE 

lINCintulaeffidturme 
toe tcgio a Nilo fluuio 
ab oc<afuptouindeinfe 
rioris:8£ab Aftabbta 
fluuio qui a parte e ori 
§JJentali ec duicates in ea 




font 
Metoc 

Sacolcba 



61 2, 
6\ J 






4. Initial O from Alvarus Pelagius, De planctu 
ecclesiae.Ulm,JohnZainer, 1474. Hain,8at. 

5. Initial H and text from Ptolemaei Cosmogra' 
phia. Ulm, Leonard Hoi, 1482. Hain, 1354°* 



B — __ 



3Jcmett'j 



rfftSfc 




S£m bzuta in biifieos fmt grata •qumttomatfis £>t ce 
e; tebent jjuatifict qui tatfoms fut gft'ctpes.tftctst cje l>a£ 

fabula acetpttut Ifjfoamca ejeftti in fontcm &fcm* 
&tt *>btbum bibzxz vcllet in aqua ceeibtt columba quebam 
atbotc fottti tminrnte mfupec fe&its cii fo^mtca^ aquts ob* 
nstt confpteecet ramulum qe atboze tofteo cotrtmuo ftegit 
ac ftne mosa bstectt in fontem &b que formica fe appl t cae 
$% aquts in tutum fc teceptt'Ob ttee aut aaceps quitta) ab* 
ssattt et ut cobumba vatet calamos enmt ^fozmtca tb gcfc» 
prats pefcem altecum momosbtt micup£qut bolozc cmctps 
eontftus calamos btmtftt quotum fttepitu columba teca* 
fca e* atbose fufjies vtte proculum ctiaftt«<£? quo I^abes b& , 
wepctojum &teta effe teuta^cut ecgo looses funt m^jati- 

6. From/Esopi fabulae et vita. Printed at Augsburg by Anthony 
Sorg, undated but c. 1490. Hain,326.The cuts, of which there are 
193 in the text, besides a large frontispiece cut of JE sop, appeared 
first in John Zainer's undated Ulm edition of c. 1473, & were next 
used by Gunther Zainer at Augsburg in two undated editions. 
Some at least of them are by the same designer as the 80 cuts in 
John Zainer's Boccaccio, De clan's mulieribus. (See Nos. 2 & 3). 



BL-j-trtj'e a 




7. One of 17 fulkpage cuts (making 133 by repetition) in Seelen* 
wurzgarten printed at Ulm by Conrad Dinckmut in 1483. Hain, 
14584. 



m 



1"HHiT| l - It. 




8. One of t26 full'page cuts in Das Buch der "Wefsheit der alten Weisen, 
printed at Ulm by Conrad Dinckmut in 1485. Hain,4033. 



ii i j. ■ j_ i!*'j»..;.mu; ' . T' ~ — 




9. One of 28 large cuts in a German translation of Terence's Eunuchus 
printed at Ulm by Conrad Dinckmut in 1486. Hain, 15436. 



li 



xxxi 

tDeeattfeetoH tefihtittrnmhtftyaibtQ^zafytfiamctto bit 
gab von £k>&2ia vot tee 'Cfyak t>auj? ah fie gait *»olt mit km 
^tofo effettn&ie befalfy fie fexeol jck^altwt vnb 3ietig.£>o fcfc 
ic£fc *Csafo &n gtmto fntbas a i?ie£ fcaswacbtmal betaitett* 




to. From the same book as No. 9. 



f9 



■s-u ■-■>.■«. t~^ 




M. One of two full^page cuts in Sprenger's Die erneuerte 
RosenkranzxBruderschaft, printed at Augsburg by John 
Baemler, without date but c. 1476. 



8 



■ ■ ■.■■ ' ■: 




€tbi»ica oie zxnt hege Ruft leret 51a' 
Ucb fents wol icon in m a j? wie gca 
matica tat tecbi* nacb cen regeln 
ceaesvOTfo leret U\etbo2tca $iecltcb 
auflfpzecten.Das ift aucb cm \sfacb 
als IfOugo fp2icbt warumb fg etFu/ 
ten iJl.Oifc huft ift bob* ht&fft vii 
^bec loblicb Wann als Seneca fpzicbt-oic hunft cec 
anflpzecbung ift 6 bee grof vno ift nexb nge human 
wt&ecfaten ©as ec fg gant$ tegregflFen mocbte. VnD 
tft gnug w&lta cju emem tegl tec felten empfangen 




12. From Rodericus Zamorensis, Der Spiegel des menschlichen 
Lebens, printed at Augsburg by Gunther Zainer, without date 
but c. 1475. Hain, 13948. This book contains 54 different cuts 
in the text, one of which appears a second time. There is also a 
fulkpage genealogical tree of the Hapsburg family, of which a 
reduced facsimile appears in the Journal of the Society of Arts 
for Feb. 12, 1892, as one of the illustrations to a paper by William 
Morris on the Woodcuts of Gothic Books. 



w 




I 







13 and 14. From the same book as No. 12. 



10 




amentes eflfe&i miferabilicer in terirent 
Defan&oSilueftro 

f^I^ Jtuefter oici£ a ftleefo e lux et terra qfi 
lux tere io eft eoclefie q inftar bone terre 
btpigueoine bonne opacois nigreoinej 
butliacois etOulce&ine oeuocois gifta 
eT tria agnofcit bona tera vt ait pallaoi? 
vTfiluelte oiat afiluas a tbeos dja bo'es 
filueftres a Tcultos etDuros ao fioe tra 
xit Vel ftcut oicit 1 gkfaco ftluefte oicic 
viriois agreftis vmbrof? nemorof? Viriois celeftia contepla 
©oAgrefiis feipm excoleoo- Vmbrof? ab omf cocuptTcentia 
refrigerat? nemorofi? iter arbores celt platat?. EiP legenoa co 
pilauiteufebi? eefariefis q> bi2 blafi? i cofitto fepruginta epi 
ftcoporuakatbolicis legeoa comemorat ficut in Becreto babec 

31ueftera 

matre re 62 

nomte iufta 
geTtus a drino prefpi 
tero eruoit?bofpitali/ 
tate fumme exercebat 
tbimotbe? aut quioaj 
crifHaniflim? ab eo in 
bofpiaufufcipitq* tn 
ob pfecucone ab ah'i's 
vitabatur B-poft annii 
coronaj afiecut? mar/ 
tirij oum prcoicaret 9/ 
flantiflime fioem crifti 
Putans autemtarqui 
nius prefedus tbymo- 





15. One of 140 cuts, making 162 by repetition, in a Legenda 
aurea, printed at Augsburgby GuntherZainer, without date, 
but c. 1475. 



XI 




I 



Ongitmf 
fiiit <Jjoaj 

** cmturio 



• 



qcmaliis miiitib 
cruci Geo afras iuf/ 
fu pylati latus la/ 
rca petforauir .4 vii 
Desfigqucfirbant 
folefcj obfcuratuj 
Ktertreirjortimfn 
xpm cteoioit.maxt 
mcexeo g>q&aoi 
cuntq?cujexinftt/ 
mitate uVteneftute 
ei?od\ caligafTent 
cefanguie xpipee 
lancea; decurtente 



#eit eiln fol nafy £e jt m memec 
l;ifto2j vnfc neucti mat balb v* 




^ iit; 



16. From the same book as No. 15. 

17. From Boccaccio's Cento novelle, printed at Augsburg 
by Anthony Sorgin 1490. Hain,328i.This book contains 
l large cut and 87 small cuts. 



12 



gtaba teffcam ti pfigauit btaj tfgine matia.€p«j^ 
ZDie atcb tee a ten gefaq bat faeaovt GPariam. 




O 



$£ was aucb bie Kot begb&jMt by fcffritf pbatao 
fcnnb femem XK>lck wm (Sgipten • bye gott tefcbio£ 
vnnb «ecfencket m «m totten nieces 




18. From Der Spiegel der menschlichen Behaltnis,printed at Augsburg, with' 
out date or name of printer, but c. 1471.Th.is book, probably the first illustrated 
book produced at Augsburg, is printed in Gunther Zainer's type, and has al' 
ways been ascribed to him. However, an interesting note, dated 1473, in a copy 
belonging to Mr. C . Fairfax Murray, states that it was printed at the Monas^ 
tery of Saints Ulric and Afra. Several of the Augsburg printers lent their type 
to this Monastery. 

19. From another edition of the same work, printed at Augsburg by Anthony 
Sorgin 1476. Hain, 14942. 

13 










<Nv 






20&21. From a book containing 257 proof impressions of cuts from Der Spiegel 
der menschlichen Behaltnis, printed at Basel by Bernard Richel in 1476. Hain, 
14936. 252 of these, making 255 by repetition, are from Richel's book, and are 
given in their proper order, but the series does not include the 21 illustrations to 
the Epistles and Gospels with which Richel's book ends. These are, however, 
with one exception, repetitions. 5 cuts in the printed book are absent from this 
series. Two of these represent the King of Moab sacrificing his Son, and The 
Return of the Prodigal, and their places are taken by the above cuts of the same 
subjects, which do not appear at all in thebookitself.The paper used is large folio 
of the same size as Richel's. There are four cuts on each page with MS. descrip' 
tions by a contemporary German scribe. A manuscript on paper (Compilatio 
librorum historialium totius Bibliae), written by the same scribe, is bound with 
the cuts in old red morocco. 



»4 



A. 

m 



rrt t>i!igentifl]meculfodiii "Jnrcrroga 
patron mum et annuitciabu Obi-foiio 
rcdtuosctDicmttibi* 





Violen 

ff Viola fzi ^t&a eft * foui&a m pjimo sou Do 
flo2ib?oiolatt.ftt firop?.* juo^ ciolaj^* o* 
leu tiiola^. St firop^cioln^fit fiofloces ci 
claj?.coqnt'm aq * cjl* cola tura s ?u«o fit; ft 
rop?-ocl e£ fucco f lojj.Diola}£* ?nc2o fitfi 
rop^oiolajjiVel f loses oiolaj^oimitrant* rh 
aq tepioa p noctem eje cuius colatura 33a 
£20 fit firopuo eioiarum. Seocr ciolarum 
fucco ct juczo mclio: fie uropus* 8t oleum 



peappetencia bifcrctioiic 

22. Cut of the Conversion of St. Paul from Cassianus, De institutes ccenobio' 
rum, printed at Basel by J. de Amerbach (but without his name) in 1485. Hain, 
4562. This is the only cut in the book. 

23. From Herbarius, sine ulla nota, but printed at Spires by John and Conrad 
Hist about 1485. There are 150 cuts of plants in this book, with the name and 
number cut on each block. This is one of the earliest of the many printed herbals 
founded on the manuscripts of the 12th and 13th centuries, which culminated in 
the splendid Herbal of Fuchsius, printed by Isingrin at Basel in 1542. 



»5 



Jbas iit) capittd ^>k niaria zvzvb 
geboren 



Am Written kunig bucb am crftcn 
f^unig: faiomons tron 






Ifrf e nacb viwbcftu mevon be 3«?olfF 
tcnta^c 

'Vnwil icf> tjic na# febrpta Sic 
epiflelen vnb Sic ctoancJeU'en • 
vnb anfcer materie *Sas Sen Sic 
criftefycit vnb Sic fyeilicjcfeirdfe 

iifct vnb prebitjeffras will ic^ eto wetticj 

tycfdjribcn 



24, 25, and 26. From Spiegel der mensch' 
lichen Behaltnis, printed at Spires by Peter 
Drach without date,but 0.1480. Hain, 14935. 
The cuts in this book, of which 254 are dif- 
ferent, making 277 by repetition, are copied 
from Richel's Basel edition of 1476. 



16 



Wie mxia vwb Jofepfe imt item fcitifc ^u fcabiloiiia in ei 
tiengatten fcomen 60 wo2etitfibenburnen inne fcowufcfte 
maria irem lieben hind tie win&len of? fcen butnen* 




27. Fromjohannes Hildeshemensis, Die heiligen drei Kbnige, print' 
ed at Strasburg by H. Knoblochtzer, c. 1484. Hain, 9401. This book 
contains 53 cuts, making 58 by repetition. 



»7 



facras leges no& 

trabibit-Ajo* 

bU tpezjpetu iibe 

generaita^ptm* 

lti«befatifda-tu» 

etcu-<£j-ftc-7-te 

ebeivlebtea-im 

beilluberijtebiV 

cfcuet cetera .eti 

epiftolaormaai 

ma et cetera jboi 

tur etalitez ptbi 

riirmsrT <pfoci<> 

t1 £Xu$u{U -ab 

augeoquoab<p 
pofirurrct mri* 
moium br res in 
biuibua '. lie* qn 
tocpbiuibat-pt 
iTim^bepa-po-Tti 
pmveeC-bere* 
pul-ofenfu- pel 
bf ab Octauiao 
Au^uJlo quob e 
bimnare-Ae- 



a 



*]n nomine bomini nofbi 
*7efu cb2iflj * Codiy& bo * 
mhri ^uimriani TaeratiO 
fyni prindpis jpefcui 2£u * 
gufti rqpetite pMe&iom$ 
ytoipit conihtuHo prnna 
tenouocobicefadefeo ftu 
t&tca* 




3£ Mpgratozluftnnan^X u 
gwtug ad ftenatum* 



28. From the Codex of the Emperor Justinian, printed 
at Nuremberg by Frisner and Sensenschmid in 1475. 
Hain,9599« This book, which is a large folio, contains 
10 small cuts like the above. It is one of the first books 
with woodcuts printed at Nuremberg. 



18 



- 





29 and 30. From the Passional printed at Nuremberg by Anthony Koburger in 1488. Hain, 
9981. There are 256 cuts like the above, making 2.59 by repetition. 



»9 






Z'- T^ .' - U'JP 1 . 7T 



^ecotomtioe regte^ntnee tertf jnepotte fttibiee 
re<^t0fcgiQiiiirvenemBt)icmaeftSeqmtur. 




® ft cui 9 regis mozte: eooe5 ano . r. viij . Die Sl.noieas 
DitjcDe venecijs cozonaf : qui viuete aobuc laDiflao 
rege aootict 9 i bugaria fuerat.€m 9 anozec regS emu 

31. From J.deThwrocz,Cronica Hungarian, printed at Brunn in Moravia 
in 1488 withoutname of printer. Hain,t55i7.Thisbook contains 1 full-'page 
cut, and 36 large cuts like the above, making 41 by repetition. 

20 



— 



m 




32 and 33. From the Bible in the Low German dialect printed at Lubeck by Steffen Arndes in 1494. 
Hain,3i43.This rare book contains a large cut of St. Jerome, appearing 3 times; a small cut of St. 
Jerome, appearing 38 times; 85 large cuts to the Old Testament, making 91 by repetition; & 4 small 
cuts to the New Testament, making 13 by repetition. 



21 



ty^r::. , = ga 




M*\mi 



Wtoffcm tare to<# fomc$ &tft rppc^c eftiefo foooe &yfct? tiifiita $e 
ftiwct cyh€ &>:$ fo to vo:m te$e Pet o:ct id tmfa (> im>$e for cpm terns 
pepfyncra/fcro^mttc^e £ctfr wt fmcrron^tetftamcna^airaflFwm: 
Vt Souftgtnant pat* cttopo fts« \m$e Sttw<$c Tar cywjlcr nen co:ne vii 

(teuvit anft9cn9uf]c gefiynne mit etcn mtg&C'^OnVtVo tontg§ 8uft 
wtu quam vtftt vantvufie geftynne mit otcn tncg&cn $<\vo*flw$e §c 
btVHft6Voaxt < $cftat>tgt$ttcnmegbc$oid§» 



34. From the Saxon Chronicle prfntedat Mainz by Peter Schoeffer in 1492. Hain, 
4990.This book contains 8 fulkpage cuts; a large cut of a battle, which reappears 
19 times; 35 cuts of half/length figures of royal persons, bishops, &o, making 463 
by repetition; 12 cuts of 2 to 4 similar figures ; making 32 by repetition; and 64 
other cuts mostly of full-length figures with architectural or other backgrounds, 
making n8 by repetition; in all, 120 cuts, making 641 by repetition; besides nu/ 
merous banners and shields of arms, and the woodcut initials in the margins. 



22 






it tutmbiffim* in ppo pattt tt fcito bn* 
T5m$tbcjanct£ COasunn- ftbte %t$i 
epifcopo IpaaA T&omam jfmperrj pec 
^cttiwnw 2U:c^tcmKC0StttOrtcpwttcipi 
e&ctou bno fufr<mmo|tflimo *"6ern$tt' 
fcus be 3tey &ctttfac# bicte ecc6eflc (iOa* 
Stmtmcn.occattuc ftmuPct cameiromft 
o&&iemwm prompotro et fccttom* 



*£tte£eno'flime t«2>p<> patcmjmc.oiie 
*mt gtatio/e'CV tuc ptcr motcmrii rflta 
mm fcri&te '"Kcttemj&tflime prttcmtta* 
naubcntitta foPito pfUmpfktrcm £mt6 ttte bicftta ctmutmtt e$$t&rc 
tanptauwb aw|e cfE <p ma nwfii Jepammaro egpma pt*fata<p {mot 
cjwtut fettimtc ct fffemtate* <\wt free (Upmep ceteiros cumttfotw$ m 




35. From Breydenbach's Opusperegrinationisadsepulchrum Christ!*, 
printed at Mainz in 1486. Hain, 3956. This book contains 2. wood' 
cut initials, a full/page frontispiece, 7 folding views,& 15 smaller cuts, 
including 6 of Eastern alphabets. The views and smaller cuts were 
drawn by Erhard Reuwich of Utrecht, an artist who was taken by 
Breydenbach on his travels. His name also appears as the printer of 
the book, though it is in a type used by Peter Schoeffer. 



23 



&A LIST OF THE PRINCIPAL BOOKS OF THE 
FIFTEENTH CENTURY, CONTAINING WOOD, 
CUTS, IN THE LIBRARY OF THE LATE WILLIAM 
MORRIS,ARRANGED ALPHABETICALLY ACCOR, 
DINGTO TOWNS, WITH THE NUMBER OF CUTS 
INEACH,ANDREFERENCESTOHAIN'SREPER, 
TORIUM BIBLIOGRAPHICUM. 

ABBEVILLE. 

i . Augustinus : La cite de Df eu. Jehan Dupre & Pierre Gerard, 1486. 
23 large cuts, which were not printed at the same time as the text of 
the pages on which they appear. H. 2070. 
.z.TriumphedesneufPreux. Pierre Gerard, 1487. jj cuts. H. 15642. 

(ANGOULEME). 

3. Eruditorium penitentiale. Sine nota,but the type of Pierre Alain 
and Andre Cauvin,c. 1492. 17 cuts. (See Thierry, Poux, p. 20.) Not 
in Hain. 

ANTWERP. 

4. yEsopus. Gerard Leeu, i486. 191 cuts, making 192 by repetition. 
H.329. Campbell, 26. 

5. Ludolphus de Saxonia: Boeck van den levenJhesuChristi. Ger, 
ard Leeu,i487. 146 cuts, making 181 by repetition. H. 10048. Camp/ 
bell, 1181. 

6. Die Cronyke van Brabant. Roland van den Dorp, 1497. 48 cuts 
(including printer's device), making 97 by repetition, and 6 wood, 
cut genealogical tables. H.5004. Campbell,5o8. 

AUGSBURG. 

7. Die Bibel. Without name or date, but Gunther Zainer, c. 1475. 
71 large historiated initials, making 74 by repetition. H. 3133. 

8. Rodericus Zamorensis: Der Spiegel des menschlichen Lebens. 
Sine nota,but Gunther Zainer, c. 1475. Full,page cut of Hapsburg 
genealogy, and 54 different cuts in text, one of which appears a se, 
cond time. H. 13948. See pages 9 and to. 

9. Voragine (J. de) : Legenda aurea. Sine nota, but Gunther Zain, 
er's type,c. 1476. Folio. 2nd Roman letter with Gothic heading on 
£3. 2 ff. unnumbered, 397 ff. numbered, 1 f. unnumbered. Without 
signatures. 39,43 lines. Woodcut initials. 140 cuts, making 162 by re, 
petition. Not in Hain. See pages 11 and 12. 

10. Speculum humanae salvationis. Sine nota, Gunther Zainer s 
type, but printed at the Monastery of Saints Ulric and Afra,c. 1471. 
176 cuts, making 192 by repetition. One large initial I, and small 
open outline capitals. H. 14929. See page 13. 

24 



AUGSBURG.continued. 

1 1 . Gregorius Magnus : Das Buch genannt Dialogus. Without prnv 
ter's name. Baemler's type, but printed at the Monastery or SS. 
Ulric and Afra, 1473. 1 fulkpage cut. H. 7970. 

12. Nider (J.) : Die vierundzwanzig goldnen Harfen. Hans Baem^ 
ler,t472. 1 full'page cut. H. 11847. 

13. Evangelien und Episteln. On f. 366, verso : CGedruckt vnd VO' 
lenndet zu Augspurg von Johanne Bamler An sant Matheus abent 
Anno...imlxxiiij jar. Folio. Gothic letter. 3666°". numbered onboth 
sides 1/-167&P199. 28 lines. Without signatures. Woodcut initials.45 
small cuts, making 54 by repetition,& 1 full^page cut. Not in Hain. 

14. Megenberg(Cunratvon): Das Buch der Natur. Baemler,i475. 
Woodcut initials, and 12 full^page cuts. H.4041. 

15. Sprenger (J.) : Die erneuerte RosenkranZ'Bruderschaft. Sine 
nota,but Baemler,c. 1476. 2 full^page cuts, woodcut initials, & the 
arms of Cologne and Augsburg at the foot of the first page of text. 
H. 14961. See page 8. 

16. Auslegung des Amts der heiligen Messe. Without printer's 
name, but Baemler's type. 1484. 2 full'page cuts. Not in Hain. 

17. Spiegel der menschlichen Behaltnis. Anthony Sorg,i476. 178 
cuts, making 209 by repetition. H . 14942. See page 13. 

18. S. Amandus (Heinrich von Berg) : Der Seusse. Sorg, 1482. 6 
full'page cuts and 10 smaller cuts. 3 large historiated initials, making 
4 by repetition, and 1 smaller woodcut initial. Not in Hain. 

19. Reichental (U. von) : Concilium zu Costencz. Sorg, 1483. 249 
folios incorrectly numbered as ccxlvii. 44 large cuts & 1158 shields 
of arms. H.5610. 

20. Lanzkranna (S.) : Die Himmelstrasse. Sorg, 1484. 1 large cut. 
H.9898. 

21. Boccaccio: Cento novelle. Sorg, 1490. 1 large cut and 87 small 
cuts. H.3281. Seepage 12. 

22. ./Esopus : Fabulae et Vita. Sine nota, but same type as Nos. 21 
and 23, c. 1490. Large frontispiece cut of ./Esop and 193 cuts in text 
from the undated editions of the two Zainers. H. 326. See page 3. 

23. Buchlein von dem Leben und den Leiden unsers Herrn. Sorg, 
1491. 70 cuts, making 74 by repetition. H.4060. 

24. Theramo (J. de) : Belial. Hans Schonsperger, 1487. Sametype 
as used by Conrad Dinckmut at Ulm in Der Seelenwurzgarten, 
1483. 20 cuts, making 38 by repetition. Not in Hain. 

25. DerteutschEsopus. Schonsperger, 1498. 191 small cuts, making 
194 by repetition,in addition to the cut of./Esop,which appears twice. 
"This copy lacked 6 leaves. H. 340. 

25 



AUGSBU RG, continued. 

26. Thwrocz (J. de) : Chronica Hungarian Erhard Ratdolt, 1488. 
34 cuts, making 67 by repetition, in addition to the publisher's dex 
vice. 25 of the cuts represent royal and other persons, usually en^ 
throned, & 16 of these are repeated with portions of the backgrounds 
cutaway.Thereare4small cuts of battles repeated X7times.H. 155x8. 

27. Psalterium cum apparatu vulgari, Ratdolt, 1494. 13 historiated 
woodcut initials. H. 13510* 

BASEL. 

28. Spiegel der menschlichen Behaltnis. Bernard Richel, 1476. A 
book of impressions of 252 of the cuts. Described fully on p. 14. 

29. Alphonsus a Spina: Fortalitium fidei. Sine nota, but Richel, 
c. 1475. 1 cut, similar in style to those in No. 28. H . 871. 

30. Panormitanus: Lectura super quinquelibrosdecretalium. 5 vols. 
Large folio. 1477. Without printer's name, but printed by Michael 
Wenszler. 6 cuts. H. 12309. 

31. Augustinus: Sermonum opera plura ac diversa. 2 vols. Johan^ 
nes de Amerbach, 1494 and 1495. I cut in each volume. H.2008. 

32. Cassianus (J.) s De institutes Coenobiorum. Basel, 1485. With/ 
out printer's name, but J. de Amerbach. 1 cut. H.4562. Seepage 15. 

33. Praecordiale sacerdotum. Basel, 1489. Without printer's name, 
but J. de Amerbach. Small 8vo. Gothic letter. 120 fF, 27 lines, 1 early 
cut of Virgin and Child. Not in Hain. 

34. Bertholdus: Horologiumdevotionis. Sinenota,but J.de Amer^ 
bach, c. 1489. Bound with No. 33 in original stamped leather. 36 cuts, 
7 of which are of a later character than the others. H.2990. 

35. Vegius (M.) t Philalethes. Sine nota, but Amerbach or Furter, 
c. 1490. 4to. Gothic letter of 3 sizes.Woodcut initials and x full'page 
cut. Not in Hain. 

36. Quadragesimale de filio prodigo. Michael Furter, X495. 15 cuts, 
making \y by repetition. H. 13628. 

37. IvoCarnutensistPanormiaseuSummaDecretorum. M. Furter, 
1499. xcut. H.9328. 

38. Defensorium inviolatae perpetuaeque virginitatis Mariae. Sine 
nota, but Leonhart Ysenhut,c. X489. 53 cuts. H.6086. 

39. Hieronymus: Epistolae. Nicholas Kesler,X497. xcut. H.8565. 

40. Brant(S.):Stultiferanavis.J.Bergmannde01pe,X497. xi2cuts, 
making uy bv repetition. H.3746. 

41. Brant fS.):Varia carmina. J. Bergmann de Olpe, 1498. 3 large 
cuts as well as 3 on the title. H.373X. 

42. Cato (D.) : Disticha de moribus. Basel, i486. Without prin^ 
ter's name. X cut from Gerard Leeu's edition of 1485. H.47X9. 

26 



=Ei^=i.=^ 



WWM^- rr . ,7 . -, -, , flMJBBBfiTT g rtfi i 



rifirB'Vi 



LUBECK. 

63. Rudimentum novitiorum. Lucas Branch's de Schass, 1475. 2 
doublez-page woodcut maps. 50 fulkpage genealogical chains, mak/ 
ing 67 by repetition. 42 other cuts, making 258 by repetition, UV 
eluding those which appear on the same pages as the chains but not 
linked to them. A woodcut border which appears twice, a marginal 
initial I containing a tall figure, and 5 other large woodcut initials, 4 
of which contain figure subjects. In the British Museum copy the 
5th of these, a C, is filled in with a small movable block, like the 
others. H.4996. 

64. Josephus : Deantiquitate&Debello Judaico. Sine ullanota, but 
Lucas Brandis, 01475. Page headings in some cases stamped with 
capitals in outline, in other cases written. The type and ornaments 
are the same as in the Rudimentum novitiorum, which was perhaps 
printed after this book. The long initial I, containing a figure with a 
scroll,appears3times.Thereare 12. other large woodcut initials.These 
recur and in most cases enclose small figure subjects, of which 5 are 
different. There are also numerous small woodcut initials. H.9450. 

65. RevelationesS.Birgittx. Barth,Ghotan,i492. 4full'page cuts. 
1 cut of a scribe, and to pages on which there are made-up cuts (23 dif> 
ferent pieces, making 51 by repetition) .Woodcut initials, 9 of which 
contain figure subjects appropriate to the book. H. 3204. 

66. Bible in the Low German dialect. Steffen Arndes, 1494. Large 
folio. Gothic letter of two sizes. 492 ff. unnumbered. 2 columns of 66 
lines. A large cut of St. Jerome, appearing 3 times; a small cut of St. 
J erome,appearing 38 times ; 85 large cuts to the 01dTestament,mak.> 
ing 9X by repetition ; and 4 small cuts to the New Testament, mak' 
ing 13 by repetition.There are 5 blank spaces in the Old Testament 
intended for illustrations. Rubrications and woodcut initials. The 
last section (qq) has incorrect signatures. Device with Imperial Arms 
after colophon. H.3143. See page 21. 

LYONS. 

67. Boccaccio: La Ruynedes nobles HommesetFemmes. M. Huss 
and J. Schabeller, 1483. 9 cuts. H.3342. 

68. Rene d'Anjou: L'Abuze en Court. Sine nota, but perhaps M. 
Huss, c. 1490. 9 cuts, making 11 by repetition, in addition to a device 
on the title. H.31. 

69. Les quatre fils Aymon. i493.Without printer's name. 2: cuts, 
making 28 by repetition. H.2227. 

70. Guillermus Parisiensis : Postilla super epistolas et evangelia. 
Printed by J.Trechsel. 1 large cut, and 41 small cuts, making 52 by 

29 



LYONS, continued. 

repetition. Not in Hain, though about 70 editions of this book are 

described. 

71. Bertrand du Guesclin. Sine nota. 88 ff. 2 columns of 35 lines. 21 
cuts, making 29 by repetition. H . 8146. 

MAINZ. 

72. ChronikderSachsen. P. Schoeffer, 1492. H.4990. See page 22. 
73.Turrecremata(J.de):Meditationes.J.Numeister,i479. 34 me' 
tal cuts. This book was in the original stamped leather, with clasps 
and bosses, the name of the binder or first owner being stamped on 
the front. H. 15726. 

74. Breydenbach (Bernardus de) : Opus peregrinationis ad sepuk 
chrum Christi. Erhard Reuwich, i486. H.3956. See page 23. 

75. Cuba(J.de):HortusSanitatis. J.Meydenbach,i49i. 7 full page 
cuts and 1066 small cuts. H.8944. 

MODENA. 

76. Lichtenberg: Pronosticatione. P. Maufer, 1492. 45 cuts. This 
is a close copy of the two editions printed by Richizola at Modena, 
c. 1492. The cuts are of the same size and design, but from different 
blocks. H, 10089. 

NAPLES. 

yy. Aretinus(L.) : L'Aquila. Ayolphus deCantono,i492. Wood' 

cut title-page, border and initials. The border is Hebrew. H. 1577* 

NUREMBERG. 

78. Justinianus : Codex. Frisner and Sensenschmid, 1475. 10 small 
cuts. H. 9599. See p. 18. 

79. AuslegungdesAmtsderheiligenMesse. F.Creussner,undated, 
but c. 1484. 1 large cut of the Salutation. H. 2143. 

80. Die Bibel. A. Koburger, 1483. 108 cuts, making 109 by repeti' 
tion, from H. Qtientell's Cologne Bible. H. 3137. 

81. Passional. A. Koburger, 1488. 256 cuts, making 259 by repeti' 
tion. H. 9981. See p. 19. 

82. DerSchatzbehalter. A. Koburger, 1491. 92 full page cuts, making 
<^y by repetition. H. 14507. 

83. Schedel(H.): Liber Chronicarum. A. Koburger, 1493. 645 cuts, 
making 1809 by repetition. An analysis is given on pages 35 & 36. 
H. 14508. 

84. Revelationes S. Birgittse. A. Koburger, 1500. 6 full page cuts, 
making 7 by repetition. A cut of ' Magister Magnus/ 9 pages of 
made up subjects, in which 25 cuts are used, making 51 by repetition. 
H. 3205. 

30 



:s: ■•■■■-, "i 1 ■■;,, -w- -■• wj B 



PARIS. 

85. La Mer des Hystoires. Pierre le Rouge for Vincent Commin, 
1488^9. Folio. Gothic letter. Vol. 1 : 4 ff. unnumbered, 2.578:. nunv 
bered, and 9 ff. unnumbered, including 1 blank. Vol. II : 273 ff. nv 
correctly numbered as 271, 1 blank&36 ff. unnumbered. 2 columns 
of 50 lines. 72 small cuts,making 377 by repetition; 2 double^page 
maps ; 50 full page genealogical chains; a large cut of Clovis, which 
appears twice; 3 large woodcut initials (I, S, and P) recurring; and 
marginal ornaments, often repeated. Not in Hain. 

86. Boccaccio : La Louenge et Vertu des nobles et cleres Dames. A. 
Verard, 1493. 11 cuts, making 80 by repetition. H. 3337. 

87. Bonnor (H.):L'ArbredesBatailles. Verard, 1493. 25 cuts, mak^ 
ing 116 by repetition, besides Verard' s device. Not in Hain. 

88. Tristan Chevalier de la Table Ronde. Verard, 1496. Folio. Gothic 
letter. Books 1 and 2, 180 ff. and 152 ff. respectively, incorrectly nunr 
bered, with 4 unnumbered ff. atthe beginning. 2 columns of 40 lines. 
6 cuts, making 7 by repetition. Woodcut initials. Not in Hain. 

89. Boccaccio: La genealogie des Dieux. Verard, 1498, 10 large cuts, 
making 13 by repetition. 19 small cuts, making 31 by repetition. H. 

90. Merlin. Printed for A. Verard, 1498. Folio. Gothic letter. Vol. I : 
ff. unnumbered, 215 ff. incorrectly numbered as 2ii,andafinal leaf, 
probably blank. Vol. II : 6 ff. unnumbered, 172 ff. numbered. Vol. 
Ill: 8 ff. unnumbered, 152 ff. numbered. 2 columns of 35 lines in 
vols. 1 & 2, of 34 lines in vol. 3. In vol. 3 there is 1 cut only, in vols. 1 
and 2 there are 3 cuts, making 22 by repetition. H. 11086. 

91. Valla (L.) : Apologues et Fables. Sine ulla nota,but apparently 
printed for Verard, c. 1498. Small folio. Gothic letter. 36 ff. unnum/ 
bered. 2 columns of 33 lines. 22 cuts, making 35 by repetition. Not 
in Hain. 

92. Paris etVienne. Printed byJ.Treperel, without date,but c.1498. 
4to. Gothic letter. 52 ff. unnumbered. 30 lines, 11 cuts, making 27 
by repetition, besides the printer's device. Not in Hain. 

93. Millet (J.) : La destruction deTroye le grant. J. Driart, 1498. 27 
cuts, making 32 by repetition. H. 11165. Other editions with cuts are 
Paris,J.Bonhomme, 1484; Paris, without name, 1490; Lyons, M. 
Huss, 1485, 1491, and 1500; and Lyons, G. Leroy, 1485. 

ROME. " 

94.Turrecremata (J. de) : Meditationes. Ulric Hahn, 1478. 32 large 
cuts. There is apparently no cut of a Jesse tree in this edition, and 
f. 30 is blank. H. 15725. 

95. Barberiis (P. de) : Opuscula. Without place or date. Printed by 
31 



ROME, continued. 

Riessinger & Herolt, c. 1482. Initials fromSweynheym &Pannartz' 
Suetonius of 1470. 13 cuts of Sibyls and woodcut border. H. 2453. 
96. Ochsenbrunner (T.) :Priscorumheroumstemmata. J.Besicken 
& S. Mayr, 1494. 1 rull^page cut, woodcut border, half border, and 
initial. 16 cuts of heroes in text, making 75 by repetition. H. U934. 
97.Turrecremata(J.de): Meditationes. S. Planck, 1498. 33 cuts. H. 
15728. 

98. Mirabilia Romae. S. Planck, 1500. Small 8vo. Gothic letter. 56 
fF.unnumbered. 2311'nes. 10 cuts in ornamental borders. Not in Hain 

SCHIEDAM. * 

99. Brugman (J.): Vita S. Lydwinae.Without printer's name, 1498. 
24 cuts, making 25 by repetition, an initial P containing a figure of 
S.Veronica, and smaller woodcut initials. H.4002. Campbell,383. 

SPIRES. 

100. Spiegel dermenschlichen Behaltnis. Peter Drach, without date, 
but c. 1480. 254 cuts, making 277 by repetition. H. 14935. Seep.16. 

101. Herbarius. Sinenota, but J.&C. Hist, c. 1485. 150 cuts of plants. 
H.8443 and 8448. See page 15. 

STRASBURG. 

102. Molitoris (U.): De lamiis et phitonicis mulieribus. Sine nota, 
butM. Flach,c. 1495. 7 cuts. H. 11536. 

103-Vegius (M.) : Philalethes. Sine nota, but H. Knoblochtzer, c. 
1480. 1 cut and 2 woodcut initials roughly copied from those in the 
edition printed by J. de Monteregio at Nuremberg. H. 15926, 
104. JEsopi vita et fabulae. Sine nota, but H. Knoblochtzer, c. 1484. 
2 woodcut borders. Woodcut initials. 190 cuts in text, in addition to 
a large cut of JE sop. H.327. 

i05.JohannesHildeshemensis:Dieheiligendrei Konige. Sinenota, 
but H. Knoblochtzer, c. 1484. 53 cuts, making 58 by repetition. 
"Woodcut initials. H.9401. See page 17. 

106. Die sieben weisen Meister. Sine nota, but H. Knoblochtzer, 
c. 1484. Woodcut initials and half border. 43 cuts, making 52 by re^ 
petition. Not in Hain. 

107. Rolewinck: Fasciculus Temporum. J. Pryss, 1487. Diagrams, 
and 8 cuts, making 22 by repetition. H. 6936. 

108. Capua (J. de) : Directorium humanae vitas. Sine nota, but J. 
Pryss, c. 1488. 114 cuts, making 119 by repetition. H. 4411. 

109. Otto von Passau: Die vierundzwanzig Alten, oder der goldne 
Thron, M. Schott, 1483. Folio. Gothic letter. 154 fT. unnumbered 
and without signatures. 40 lines. 4 cuts, making 26 by repetition. 

32 



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STRASBURG, continued. 

I woodcut initial S, & an ornamental border. Sorg's first edition was 

printed in 1480. Not in Hain. 

no. Hystori von Alexander. M. Schott, 1493. 25 cuts, making 28 

byrepetition. Woodcut initials. H.793.Thecutofabannerin which 

there are 3 bells is copied from oneinDieneueEhe, Augsburg,Sorg, 

1476. No doubt all the cuts are copied from one of Sorg's editions. 

Schott issued two previous editions, in 1488 and 1489. 

m. Horatius: Opera. J. Gruninger, 1498. 100 different cuts, made 

up and recurring many times. H. 8898. 

112. Terentius: Opera. Gruninger, 1499. 7 large cuts, and 88 small 
cuts, which are constantly repeated in made up subjects. Many of 
these are from the Horace. H. 15432. 

113. Hortulus Animae. W\ Schaffener, 1498. Small 8vo. 72 cuts in 
the style of Gruninger' s cuts, making 74 by repetition. H. 8936. 

TUBINGEN. 

114. Biel: Epitoma expositionis Canonis Missae. Printed for F. 
Meynberger, bookseller, without printer's name, but by J. Otmar. 
Date in preface, 1499. 1 cut and a curious initial T. H.3180. 

ULM. 

115. Albertus Magnus: Demysterio Missae. J.Zainer, 1473. Wood' 
cut half'border, and initials in outline. H. 449. See page u 

116. Boccaccio :Declarismulieribus. J. Zainer, 1473. Large initial S, 
representing the Serpent tempting Eve. 80 other cuts. H.3329, See 
page 1. 

117. AlvarusPelagius:DeplanctuEccIesi3e.J.Zainer,i474."Wbod' 
cut half-border, which occurs twice, & 4 large woodcut initials. H. 
891. See page 2. 

118. Ptolemaeus : Cosmographia. L. Hoi, 1482. 31 double/page maps 
and one on a single page. The descriptions of these have woodcut 
borders, which is not the case in the edition printed with the same 
type by Reger in i486. Woodcut initials, 2of which are historiated, 
and a few diagrams. H, 13540. See page 2. 

119. Seelen^wurzgarten. C.Dinckmut, 1483. i7full^pagecuts,mak^ 
ing 133 by repetition. The same type was used by Schoensperger 
at Augsburg. H. 14584. See page 4. 

120. Das Buch der Weisheit der alten Weisen. C. Dinckmut, 1485. 
126 full'page cuts. H. 4033. See page 5. 

121. Terentius: Eunuchus, in German. C.Dinckmut, i486. 28 large 
cuts. H. 15436. See pages 6 and 7. 

122. Ptolemaeus: Cosmographia. J. Reger, i486. 32 double/page 

33 



ULM, continued. 

maps. The initials, except the historiated N and C, are different 

from those in Hoi's edition. H. 13540. 

123. Caoursin: Stabilimenta Rhodiorum militum. J. Reger, Aug. 
X496. 20 full'page cuts, and a cut of the Arms of Cardinal Pierre 
d'Aubusson. H. 4364a. 

124. Caoursin (G.) : Opera. J. Reger, Oct. 1496. 36 full'page cuts. 
Woodcut initials. H. 4369. 

125. Itinerarium beatas Virginis Mariae. Sine nota, but J. Reger, 
c. 1496. Same type as Nos. 123 & 124. 19 full/page cuts, 18 of which 
contain 3 subjects. H. 9322. 

UTRECHT. 

126. Rolewinck: Fasciculus Temporum. J.Veldener, 1480. Wood' 
cut border, which appears twice. Printer's device in small border of 
the same character, appearing twice. Elaborate initial G. 19 small 
cuts, making 34 by repetition, & numerous small shields, H.6946. 
VENICE. 

127. Forestus (J. P.) : Supplementum Chronicarum. B. Ricius de 
Novaria, 1490. 41 small cuts, making 63 by repetition, and 6 larger 
cuts, including careful views of Rome and Venice. H. 2808. 

128. Forestus: Supplementum Chronicarum. By the same printer, 
1492. Woodcut initials and border. 36 small cuts, making 43 by re^ 
petition, and 6 larger cuts. The small cuts (except that of Noah's 
Ark) and 5 of the larger cuts appear in the previous edition, which 
has a different cut of theCreation,&no border or title-page. H.2809. 

129. Biblia Latina. Simon Bevilaqua, 1498. Woodcut initials. 62 
small cuts, making 71 by repetition, and 2 large cuts. Many of the 
small cuts are signed 'b.' Bevilaquaprintedanearliereditionini494. 
H.3124. 

130. Hieronymus: Le vite di Sancti Padre. Sine nota, perhaps J. 
Rubeus, c. 1492. Folio. Roman letter. 154 ff. incorrectly numbered, 
&4 ff.unnumbered,including a final page probably blank. 2 columns 
of 59 lines. Woodcut border and small initials, t large cut. 165 small 
cuts, making25oby repetition. F. i,recto,Title: Uita di sancti padre 
vulgare historiata. F. 157, verso : Finisce la tabula de levitedi sancti 
padri/LAUS DEO. Not in Hain. 

GERMAN, SINE NOTA. 

131. Hieronymus: Leben der heiligen Altvater. 106 cuts, making 
150 by repetition. H. 8603. There is another edition of this book in 
Low German, with the same type and cuts and with signatures. 
There are also two editions of Der Endcrist in the same type. 

34 



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ANALYSIS OF THE WOODCUTS IN THE LATIN 

EDITION OF THE NUREMBERG CHRONICLE. 

Repeats 

Title page i 

Full page cuts of 

The Creator t 

Christ and His Apostles i 

The Expulsion of Antichrist 1 

The Last Judgment i 

Double page cuts of 

The German Emperor and his Electors i 

The Electorates i 

N. Europe i 

The Ancient World i 

The Destruction of Jerusalem i 

26 different cities 26 

Large cuts of 

22 cities and countries 22 47 
Pope Pius II. and the Emperor Frederick III. 1 

4 dancing skeletons 1 
A storm at Constantinople t 

3 marginal bars, each containing 7 monsters 3 

31 small cuts of apparitions, monsters, comets, &c. 31 18 

84 cuts of scriptural and historic incidents 84 3 

15 cuts of martyrdoms 15 

3 cuts of monasteries 3 20 
7 cuts of Evangelists & Fathers of the Church, seated 7 
Full length figures of 

Henry II. and S. Kunegund 1 

8 Patriarchs and Kings 8 

5 Emperors 5 9 
4 Founders of monastic orders 4 

Half length figures of 

2 Papal Synods 2 20 

Translators of the Septuagint 1 

lopersons 1 2 

In the Genealogical trees 

47 cuts containing atotal of 352half length figures 

not repeated 47 

l cut of 3 Amazons 1 1 

4 cuts of 2 Emperors 4 2 

12 „ 2 Consuls 12 21 

35 



* 



In the Genealogical trees, continued 
xx cuts of 2 Saints 

Kings and Queens, &c. 

Emperors 

Kings 

Queens 

High Priests 

Popes 

Cardinals 

Bishops 

Saints and Martyrs 

Monks and Hermits 

Various men 

Various women 



10 
24 

44 
6 

13 
28 

4 
21 

80 

22 

66 



»9 



7 small cuts of regal insignia 



XX 

xo 
24 

44 
6 

13 
28 

4 
21 

80 
22 

66 

19 

7 



Repeats 

9 

4 

78 

226 

8 

37 
xp8 

2 

50 

20 

302 

13 

9 



645 
Repeats 1x64 



Total 1809 



xx64 



A few woodcut inscriptions in the text, as well as the connecting or^ 

namentsofthe genealogical trees, are excluded from the above count. 
Some of the blocks of consuls, which have been cut twice from the 
same design, are reckoned as x cut, and the cuts that reappear with an 
alteration (such as the removal of a halo, palm, or crozier) are count-- 
ed as simple repeats. 



l"l CI |? S ^ ome German Woodcuts of the Fifteenth Century, for 
which the blocks (with one exception) were prepared by Walker 
and *J° ut * !I "nder the direction of the late William Morris. Nov/ 
l^'^^yS.C.CockerellandprintedattheKelmscott Press, Upper 
Mall, Hammersmith. Finished on the 15th day of December. 1897. 



36 



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